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As is true for most things, you don’t get something for nothing. The BBC White Paper WHP 309 states that, for a 2000 cd/m2 HDR display with a black level of 0.01 cd/m2, up to 17.6 stops of dynamic range without visible quantization artifacts (“banding”) is possible. BBC White Paper WHP 286 states that the proposed HLG EOTF should support displays up to about 5000 nits. So, partially, the backward compatibility that HLG makes possible is due in part to discarding long-term support for 10,000 nit displays. However, it’s an open question whether or not over 5000 nits is even necessary for consumer enjoyment.
Sony, LG, Panasonic, JVC, Phillips, Hisense, Hitachi, and Toshiba have all either announced or are shipping consumer HDR televisions capable of displaying HLG encoded video, and of course DaVinci Resolve supports this standard through Resolve Color Management.
Grading Hybrid Log-Gamma in DaVinci Resolve
Monitoring an ST.2084 image is as simple as getting a Hybrid Log-Gamma-compatible HDR display, and connecting the output of your video interface to the input of the display.
Setting up Resolve Color Management to grade for HLG is identical to setting up to grade for Dolby Vision, except that there are four HLG settings to choose from for the Output Color Space:
— Rec.709 HLG ARIB STD-B67
— Rec.2020 HLG ARIB STD-B67
— Rec.2100 HLG
— Rec.2100 HLG (Scene)
Optionally, if you choose to enable “Use Separate Color Space and Gamma,” you can choose either Rec. 2020 or Rec. 709 as your gamut, and Rec. 2100 HLG as your EOTF.
The levels you’ll be monitoring in your scopes will be different from the table of data to nit values listed previously for grading to the PQ EOTF.
Ouputting Hybrid Log-Gamma
Once you’ve created an HLG grade for your program, you can output it to any high-quality 10-bit capable media format.